A Tate Gallery: De Millbank a Bankside

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A Tate Gallery: De Millbank a Bankside UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS A TATE GALLERY: DE MILLBANK A BANKSIDE Célia Maria da Costa Baixa Orientador: Professor Doutor Álvaro Luís Antunes Pina Tese especialmente elaborada para a obtenção do grau de Doutor em Estudos de Literatura e de Cultura, especialidade em Cultura e Comunicação 2015 UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS A TATE GALLERY: DE MILLBANK A BANKSIDE Célia Maria da Costa Baixa Orientador: Professor Doutor Álvaro Luís Antunes Pina Tese especialmente elaborada para a obtenção do grau de Doutor em Estudos de Literatura e de Cultura, especialidade em Cultura e Comunicação Júrí: Presidente: Doutora Maria Paula Nina Morão, Faculdade de Letras da Universidade de Lisboa Vogais: - Doutora Maria Cláudia Silva Afonso e Álvares, Escola de Comunicação, Artes e Tecnologias da Informação da Universidade Lusófona de Humanidades e Tecnologias - Doutora Ana Cláudia dos Santos Gonçalves, Escola Superior de Hotelaria e Turismo do Estoril - Doutor Eduardo Manuel Dias Brito Henriques, Instituto de Geografia e Ordenamento do Território da Universidade de Lisboa - Doutor Álvaro Luís Antunes Pina, Faculdade de Letras da Universidade de Lisboa - Doutor Manuel Amador Frias Martins, Faculdade de Letras da Universidade de Lisboa 2015 Resumo Esta tese explora os contextos de evolução da Tate Gallery em Londres desde a sua origem no século XIX até ao presente. Através de uma abordagem multidisciplinar filiada nos Estudos Culturais este estudo tem como objetivo dar um contributo para a análise das transformações da cultura e da sociedade assim como fornecer um enquadramento para estudar conceitos como ideologia, representação, identidade e poder. Criada no contexto de consolidação do Estado-nação e sob o conceito vitoriano de museu como motor de progresso social, a Tate Gallery, abriu em Millbank, Londres em 1897 com o nome National Gallery of British Art para alojar as quase 70 obras de arte britânica doadas por Henry Tate ao Estado. A sua criação, como um anexo da National Gallery, preenchia as ambições de uma classe média próspera cuja identidade era definida através de um sentido de modernidade concretizado pelo patrocínio da arte nacional contemporânea. Mais de um século depois, e com uma coleção de mais de 70.000 obras, a Tate é hoje constituída por quatro galerias, a Tate Britain e a Tate Modern em Londres, a Tate St Ives em Cornwall e a Tate Liverpool. A funcionar segundo uma lógica empresarial e como uma marca cultural, as prioridades da Tate estão concentradas na captação de públicos, no desenvolvimento de atividades e serviços com base nas tecnologias e na operacionalização de estratégias de branding e marketing com o objetivo de oferecer uma grande amplitude de experiências e de comunicar com um público global. Enquadrada num complexo caracterizado pelo consumo, pelo entretenimento e pelo espetáculo e com cerca de 4.500.000 de visitantes por ano, a Tate Modern, a quarta galeria Tate que abriu em Londres, em Bankside, em 2000, tem uma presença de peso no competitivo mercado cultural e uma posição dominante no ranking dos museus mais visitados do mundo. Palavras-chave: Tate, cultura, representação, Estado-nação, museu-marca i Abstract This thesis examines the contexts of development of the Tate Gallery in London since its creation in the 19th century until the present. With a multidisciplinary approach affiliated in the Cultural Studies, it aims to provide an analysis of the transformations in culture and society and a background to explore concepts such as ideology, identity, representation and power. Framed by the cultural and ideological apparatus of the nation-state and by the Victorian concept of museum as an engine of social progress, the Tate Gallery, created as National Gallery of British Art, opened in Millbank, London in 1897 to house the nearly 70 works of British art Henry Tate gifted to the nation. Its creation, as an annex of the National Gallery, fulfilled the ambitions of a prosperous middle class whose identity was being defined by a sense of modernity embodied in the sponsorship of contemporary national artists. Over a hundred years later and with a collection of about 70,000 works of national and international art, the Tate is now composed of four galleries, Tate Britain and Tate Modern in London, Tate St Ives in Cornwall and Tate Liverpool. Operating as a corporate museum and a cultural brand, Tate’s main priorities are audience engagement, technology-based activities and branding so as to offer a wide range of experiences and communicate to a global audience. Framed by consumerism, entertainment and spectacle and with an estimated 4.5 million visitors per year, Tate Modern, the fourth Tate Gallery that opened in Bankside, London, in 2000, has a significant presence in the competitive art world and a strong position within the most visited museums worldwide. Keywords: Tate, culture, representation, nation-state, brand-museum ii Agradecimentos A conclusão deste projeto de doutoramento e desta tese em particular só foi possível graças ao apoio dos que passo a enumerar. Devo agradecer a todos os que, nos arquivos da Tate, em Millbank, e da National Gallery, em Trafalgar, me prestaram toda ajuda desde a fase de preparação das visitas, até à consulta de catálogos, leitura de documentos e recolha de material. No arquivo da National Gallery foi crucial o contributo do arquivista Nicholas Donaldson, que acompanhou e orientou as pesquisas que fiz em 2012 e 2014. A participação, em junho de 2012, no Congresso Londonicity 2012, no Institute of Education em Londres, uma oportunidade para apresentar uma das vertentes deste estudo num contexto internacional e para enquadrá-lo nos estudos sobre a cidade de Londres, só foi possível graças à equipa da Direção da Escola Secundária Stuart Carvalhais que criou as condições para que me pudesse deslocar a Londres num dos períodos de maior pico de trabalho: os exames nacionais e o fecho do ano letivo. Estou particularmente grata à Ana Gonçalves pela leitura que fez do primeiro capítulo deste trabalho e pelo seu olhar crítico que alertou para muitas questões às quais foi necessário dar novos contornos. Também a ela agradeço a motivação e a ajuda em muitas questões técnicas e formais assim como o seu rigor e disciplina de trabalho que muito admiro. Para o Professor Doutor Alvaro Pina nunca serão suficientes as palavras para expressar a enorme gratidão pela supervisão deste estudo, por todo o aconselhamento e encorajamento. Com a sua experiência académica e de vida soube entender as muitas limitações impostas pela dificuldade em articular a atividade de docente do ensino básico e secundário com um projeto de doutoramento e, por isso, soube também sugerir como gerir o tempo e todas as fases deste trabalho. O caminho percorrido, pautado por muitas e agradáveis conversas sobre a Tate, museus e cultura, foi para mim uma lição de rigor, de disciplina intelectual e de exercício do olhar crítico que já tinha sido iniciada com a supervisão da tese de mestrado entre 2002 e 2004. Agradeço toda a sua disponibilidade, já em período de aposentação, para continuar a orientar o meu trabalho dedicando muitas horas à leitura, revisão e anotação dos vários capítulos, um trabalho sem o qual não teria sido possível corrigir muitas falhas e reformular muitos pontos de vista. Por fim quero agradecer à minha família o apoio incondicional e a compreensão pelo tempo que a eles foi retirado para concretizar este projeto, principalmente aos meus três iii sobrinhos, todos nascidos durante o período de pesquisa e escrita, e aos quais foram subtraídos muitos fins-de-semana e muitas horas de atenção que os primeiros anos de vida exigem e merecem. Ao meu pai agradeço a ajuda por ter sido um precioso assistente de revisão de partes do texto e das referências bibliográficas e também ao meu cunhado e à minha irmã muito em particular, por terem respondido com entusiasmo aos meus pedidos de ajuda para a formatação e organização técnica do texto e às minhas inúmeras, e por vezes indescritíveis, perguntas e dúvidas sobre tecnologia informática. iv Índice Introdução 1 1. Museu, cultura, representação e identidade 16 1.1. Origem: colecionismo, a criação do museu público europeu e a 24 formação do Estado-nação 1.2. Reflexão e mudança: a Nova Museologia 35 1.3. Rutura(s): pós-modernismo e globalização 39 1.3.1. Media, tecnologia e entretenimento 44 1.3.2. Cultura e mercado: o museu-marca 49 1.4. Reinvenção: museus, urbanismo e turismo 57 1.5. Antevisão: o(s) futuro(s) do museu 71 2. Tate Gallery: 1889-1954 76 2.1. Colecionismo e patrocínio de arte em Inglaterra nos séculos XVIII e 77 XIX 2.2. A sociedade industrial 80 2.2.1. Arte, Estado e educação: a criação da National Gallery e da 86 National Portrait Gallery em Londres 2.2.2. Cidade, cultura e poder: a Londres imperial 100 2.3. A oferta de Henry Tate: uma visão para a arte nacional 105 2.4. A National Gallery of British Art 114 2.5. O relatório Curzon 122 2.6. O relatório Massey 134 3. Construir a autonomia: 1955-79 137 3.1. O National Gallery and Tate Gallery Act, 1954-55 139 3.2. A sociedade do pós-guerra: cultura e massificação 145 3.2.1. Cidade, media e moda: Swinging London 155 3.3. A Tate sem a National Gallery - comunicar uma nova identidade 161 3.3.1. Desenvolver a coleção, a programação e o edifício 162 4. A Tate ‘fora’ de Millbank: 1980-1997 174 4.1. A sociedade pós-industrial: cultura e reinvenção do passado 177 4.1.1. Cidade, empresariado e regeneração urbana: a Londres 180 yuppie 4.2. Procurar parcerias e descentralizar o consumo cultural 186 4.2.1. A Tate Liverpool, 1988 189 4.2.2.
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